Gregory Ellwood

There is drama in the source material for sure, but maybe a little more style could have helped elevate this moment in history for the masses.

This version of Cyrano feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years.

Considering Redmayne’s achievement it’s almost shocking that you can argue Vikander gives the more memorable performance.

To say Blanchett is good here is a grave understatement.

It's good stuff and, in a perfect world, will prompt Hollywood execs to take Winocour's directing skills very seriously.

Mielants and Porter end the film in a manner that is almost offensive to the audience. This isn’t about providing a spotlight for kids with behavioral issues or the professionals who commit their lives to them; it’s melodrama for melodrama’s sake, with an awkward attempt at a “happy ending” that is borderline cringe.

This may feel like familiar territory to another U.K.-set disaster film, “Children of Men,” or the recent mini-series “Station Eleven,” but Bellow has crafted something singular here. And you won’t forget it.

While Bening is incredible playing a fading Hollywood starlet in Paul McGuigan’s Film Stars Don’t Die In Liverpool, it’s her co-star, Jamie Bell, who might be the film’s real secret weapon.

What truly elevates Plainclothes in this genre are the contributions from Tovey and Blyth.

Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.

Carousel is another entry in a run of magnificent Jenny Slate performances.

Dominic Cooke’s Ironbark is blessed with fantastic turns from Benedict Cumberbatch, Jessie Buckley and Rachel Brosnahan to up the stakes and make it all feel a bit fresher than it actually is.

All that being said, the songs are impressive enough that it’s not hard to envision “The End” becoming something of a cult musical. Five years from now, maybe less, some excited college freshman is going to convince the head of their college drama department to let them put on a stage version of this musical. And chances are, it will be a smash. This is material that, with some editing of its book (er, script), a spotlight on the songs, and natural physical intimacy, could flourish on the stage.

Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.

Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.

All the actresses do their best with the material, but only Mulligan truly transcends its limitations.

It’s all fun and murder games (until it’s not), but something is missing. “Maxxxine” feels a bit emptier than the first two installments. Goth is quite good at reprising the role, but Maxine is sort of already a fully-baked character.

It often seems as though Hikari is being pulled toward a prespective that is simply not Japanese enough to provide a true cultural perspective. But, more importantly, Hikari knows how to push enough emotional buttons without the audience sensing they are being manipulated. And, for many, those talents mean Rental Family will lead to genuine tears.

While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.

It’s well crafted and compelling at times thanks mostly to the casts’ efforts, but there is an emptiness that permeates through the film as if a significant piece of Wilde’s demise is missing.

Orley’s direction is fine, and the picture is well made for a low budget indie, but Davidson is all you’ll really remember when you leave the theater. And for many, that’ll be enough.

A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.

A deceptively dense piece of work filled with moments that articulate the complexity of the human condition.

Heavens, that masterful first half of filmmaking. That quiet, subtle love affair. That charismatic pairing between Mescal and O’Connor, which, for a moment, feels like a cinematic romance for the ages. Oh, I’ll pay a ticket just to experience that again, absolutely. But just that. Just that.

For every scene that doesn’t work there is another that’s spellbinding. It’s gutsy and provocative and, frankly, that’s a compliment you can’t give many independent films these days.

Foster is so good you’re often rooting for Stoll to succeed more than Nyad. And sometimes a performance like that is all you need for a feel-good story like this one.

If there is any saving grace to “Horses,” beyond Luc Montpellier‘s often painterly cinematography and Jeriana San Juan‘s superb costume design, is its commitment to chronicling this era of hidden queer love.

You can certainly respect Sharpe for taking a big swing in this regard, but he can’t bring the proceedings back to earth when the audience needs some sort of emotional investment. This also ends up hampering Cumberbatch, who is giving one of the most committed performances of his life, but only to find it buried under all of the film’s extracurricular aspects.